Black History 365 includes originally composed music by Grammy-nominated producer Dr. Kevin “Khao” Cates, who has worked with notables such as Jay-Z, the late Nipsey Hustle, and Ludacris. This snippet of video is from a webcast about the project.
Dr. Walter Milton, Jr., remembers the shame he felt back in elementary school when his teacher announced to the class that they were going to learn about Black history and then started with slavery. He said he wanted to hide under the table. But later when he returned home that night, he also remembers the impact his parents had on his spirit when they explained that African Americans are descendants of ancient kings and queens. Dr. Milton and his partner, Dr. Joel Freeman, want other children to have that same impactful, eye-opening experience about Black history and that’s why they created the Black History 365 education curriculum.
“We want to give the students this whole experience about the Moors, the hunting, fishing, gathering, agriculture, all these different aspects how the civilizations began throughout ancient Africa,” said Dr. Freeman, who has included his personal photo collection of artifacts from Africa in the curriculum. “So, there’s images from the collection, where I’ve had people of African descent say, ‘Wow, I almost feel like I’m in that picture. I see my ancestors. I see myself there.’”
Both Milton and Freeman have strong educational and professional bonafides to take on a mission of bringing Black history to life in an innovative and technological way that will capture the heart and spirit of a new generation. Milton served as a school superintendent for twelve years in the states of New York, Michigan, and Illinois, and he taught at several universities across the United States. He’s also published several books addressing issues related to Black parents, schools, and education. Freeman served as player development mentor and character coach for the Washington Bullets/Wizards For 20 NBA seasons. He has also worked with the Association of International Schools for Africa (AISA), traveling extensively throughout the continent of Africa and conducting a number of training events for educators, government, and business leaders. Genuine documents and artifacts from Dr. Freeman’s personal collection have been showcased in exhibitions at the United Nations, White House, and Clinton Presidential Library.
“I met Joel when I was a superintendent back in Springfield, Illinois,” said Milton, adding that a friend of his insisted that he’d have a lot to talk about with the historian, who he called a “brother, but not a brother.” Milton was perplexed. “He’s a white guy? I said, okay, a white guy with Black history. No problem. So Joel and I met each other and the rest is history. He was one of the first persons that I called to start this project,” said Milton.
A Peek Inside Black History 365
When you first see the Black History 365 curriculum book, it looks like any other textbook. But take a peek inside and that’s where the ordinary becomes extraordinary. The artifacts from Dr. Freeman’s collection are sprinkled throughout the beautifully designed schoolbook, which begins with a chapter on Ancient Africa and ends with George Floyd. Students can scan QR codes with their smart phones that lead to originally composed music by Grammy-nominated producer Dr. Kevin “Khao” Cates, who has worked with notables such as Jay-Z, the late Nipsey Hustle, and Ludacris. Cates has a doctorate in education and through his own educational program called Bridging Da Gap, he has produced more than 600 songs for K-12 grade levels. The music is meant to engage listeners, but the QR codes also link to relevant people and places related to the subject matter. The eBook version of the book will have music and videos embedded right in it, no WIFI needed. An app is in development, too, as a way to integrate current events.
“Everyone around the country who downloads the app will get a spritz of information every morning. And then it creates this technological ecosystem where a teacher can start a class with that,” said Dr. Freeman. “Hey guys, what did you think about what you saw this morning…at the dinner table…in the grocery store? Whatever it might be, it can be sparked with these conversations.”
That said, the opportunity to bring in conversations is already a staple in the book. The “Elephant Experience” is a sidebar area to the core content of the text. It represents an opportunity to talk about hot topics that are often not so easy to discuss. In other words, the “elephant in the room.” The co-founders wanted to provide a resource that would invite students, educators, parents, and anyone else who engages with the material to become critical thinkers, compassionate listeners, fact-based and respectful communicators, and action-oriented people with solutions.
“One of the things we wanted to do with this elephant experience is deal with topics like three fifths of the human being and reparations. What about tearing down statues? And are we in a post-racial society since we had a Black president for two terms? Did Africans sell Africans into slavery? Topics that people butt heads about or talk past each other or just unfriend each other on Facebook,” said Dr. Freeman.
The Black History 365 project has expanded beyond the talents of Dr. Milton, Dr. Freeman, and Dr. Cates. The team now includes 30 additional expert educators, trainers, and instructors. Learn more at BlackHistory365education.com.
So another Black History Month is here, and for artists, writers, musicians, and other creative types that hail from the Black community, it’s an opportunity that comes with a burden.
February is a time when your workplace, school, or church might be more open to forms of artistic expression that highlights the achievements of Black people, particularly for those of you who live and/or work in a predominantly White community. And while it’s obviously a great opportunity to highlight the best of our tradition as a community, it also means that from an exposure standpoint, it’s an opening to get your songs, poems, plays, or paintings seen and heard by people who might be able to support you financially.
But the burden is the challenge of successfully executing your art without being swallowed whole by the bitterness of the struggle. I mean, let’s just be honest: struggle might be the catalyst that serves to incubate powerful works of art, but it’s terrible as a sales technique. No one can alienate their audience through their art and simultaneously persuade them to become financial supporters.
The truth is, we’ve come a long way as African Americans. No longer are we restricted to the kinds of gigs and roles that kept us docile and subservient in the minds of the majority. In recent years, there has been a greater level of visibility to the everyday struggle that Black Americans endure, and it’s also helped place a premium on authentic Black art that helps to articulate that struggle.
Still, if we’re not careful, we’ll fall into a false dichotomy, where we feel like either we must keep it fully 100 at all times with our art, or we’re selling out for the money.
But there’s a middle ground.
Discerning the Difference
Ten years ago, I was in a hip-hop duo traveling to a Christian camp to do a concert for a bunch of youth from the inner city. When I arrived onto the campus, I headed to the most logical place for music performance—the chapel.
As I walked into the chapel, I walked up to the sound booth, and told the guy that I was with the hip-hop group that was supposed to perform. He gave me this blank stare, so I thought, “Hey, it’s loud in here, so maybe he can’t hear me that well.” I tried again, a bit louder.
“I’m with the Iccsters… y’know, the hip-hop group.”
Again, he gives me this confused stare. And then he says, “This is Christian camp.”
Right then and there, I almost lost it. I could tell that he didn’t really mean to say anything offensive to me, but it was like all the years of being stereotyped as a young Black man, overlooked and misunderstood as a rap artist, all the times hip-hop had been blamed for all of society’s problems—by other Christians, no less!—almost overwhelmed me. I wanted to set him straight and tell him that there are Christians who perform hip-hop, and his assumption was shortsighted, racist, and insulting.
But I had somewhere to go, so I swallowed that rage, walked out of the room, called my contact, and located my actual destination (a different building with a smaller setup).
Often, when I’m invited to share hip-hop as a form of worship music and find myself in spaces that remind me of that day, I’m tempted to go back to that moment, tap into that rage, and give the audience a piece of my pain.
The wisdom and maturity of age helped me learn how to posture myself, not as someone with an axe to grind, but as someone with something of value to share. And when I share my pain, I do it with an eye toward giving others an opportunity to join me in my struggle, instead of guilting them for not already being onboard.
Sometimes God calls us to stand up and fight; other times, He simply gives as an opportunity to share who we are and how we got here. As an artist, my prayer is for us to flip the script and learn to discern the difference.
“…herein lie buried many things which if read with patience may show the strange meaning of being black here in the dawning of the [Twenty-First] Century. This meaning is not without interest to you, gentle reader; for the problem of the [Twenty-First] Century isthe problem of the color line.”
Thanksgiving has arrived and that can only mean one thing. African Americans across the nation are about to enjoy some delectable soul food. A colleague from seminary asked me a seemingly simple question one day: What is the soul? To really understand my struggle with this query you have to appreciate my background. While attending a majority white seminary, it’s safe to say that I had a bit more melanin than some others. My flesh tone was a hue that resembled many from our historical past who were considered African Americans or Negroes.
He asked a question that evoked thoughts of pride as I pondered my godly heritage. Soul (at least from my perspective) was inextricably interwoven in my DNA. Soul music from the Harlem Renaissance resounded within as I began to recount the great jazz artists of the time (ranging from Cab Calloway to Duke Ellington). I thought of the great James Brown, who is deemed the “Godfather of Soul.” If anybody knew soul, it was my people. And soul in the African American community wasn’t just limited to melodic harmony and sound. Soul had a significant role in food preparation. Soul food, as we know it in this country, originated in the African American community. This delectable culinary genre included a wide range of items including, but not limited to, collard greens, ham hocks, pig’s feet, pork neck bone, fat back, and chitterlings a.k.a. pig intestines. (If that last sentence didn’t make you hungry, please check your pulse.)
During an oppressive era beginning in the late 17th century, slaves were afforded the “opportunity” to have the leftover pig parts from their masters’ tables. This normally included the parts the slave masters felt were unfit for human consumption. The slaves took them, carefully cleaned them, salted them up to make them flavorful, and served them to their families. As a result, soul food became a staple in the African American slave community.
So an inquiry about my soul transposed the generally perceived idea of soul in society (and the Christian community generally). It involved retained customs and traditions that accompanied thousands on an infamous Trans-Atlantic journey hundreds of years ago. When my colleague asked that question about my soul, many images, tastes, and sounds came to mind.
“One ever feels his twoness, — an American, a Negro; two souls, two thoughts, two unreconciled strivings; two warring ideals in one dark body, whose dogged strength alone keeps it from being torn asunder.” —W.E.B. DuBois, The Souls of Black Folk
Despite those elicited proud images of soul defined in my own experience, I can appreciate DuBois’ “twoness.” I live it out every day. There is a soul dualism that perpetuates itself. I am both an American and a Negro. For many, this is a comfortable idea. However, in reality this duality presents two warring ideals that have a profound impact on the way I live my life. Even in a seminary, where a majority of the books read were by white, middle-aged men, this duality impacted my experience. I’m quite sure this twoness had some role in issues presented in the “Jena Six” and Trayvon Martin stories. Both painted portraits of cities that still have some “color line” issues. When a group of black boys respond violently to a “noose” incident in a schoolyard, how could one not surmise that color line issues are still prevalent in society? When distrust of a local Central Florida Police Department mobilizes thousands of African American, how could we question the existence of the color line?
As I sat on the seminary campus and reflected, I realized that it was this twoness that led me there. I figured out that it wasn’t enough to say that I casually associate with people outside of my own ethnic group. Instead, I wanted to be able to experience community, fellowship, and dialogue with people who did not share my ethnic background. As I walked from class one week, I stopped to have a conversation with one of my classmates. We spoke about diversity and its real meaning for our seminary (and the Church generally). We both explained frustrations with tossing around diversity labels without authenticity. During our conversation, I had to apologize for assuming that he understood what I was talking about when I mentioned the acronym HBCU (Historically Black College and University) or when I spoke freely about tendencies in black church leadership.
Ultimately our conversation reassured me that there are others who wrestle with duality of the soul (whether a white Christian trying to genuinely understand other cultures or a minority Christian doing the same). I have learned that some people want to be able to function in that “twoness” to better understand others outside of their culture. Isn’t the body of Christ called to this kind of unity and understanding? Will we stand by idly as the color line widens? If the Church isn’t called to unite how can we expect it from a fallen world?
So as I lay into some Soul Food this holiday season, I remain grateful. I am grateful for the African American story. I am appreciative that my life is being grafted into a story of struggle and triumph. But the soul “twoness” is ever present. Reminding me that our story as a people is tied into God’s greater story of redemption. And for that I am thankful. Now pass me those collard greens.
When you see a man walking down the street talking to himself, what is your first thought? Most likely it’s, “He is crazy!” What about the lady at the bus stop yelling strange phases? You immediately become guarded and move as far away from her as possible. I know you’ve done it. We all have.
We are so quick to judge others on the surface level without taking the time to think that maybe God is placing us in a situation for a reason. Maybe it is a test and in order to pass, you must show love and compassion for something or someone that you do not understand.
Perhaps the man or woman you judge are suffering from a mental illness. However, do not be deceived by appearances, because mental illness does not have “a look.”
More Than What Meets The Eye
When most people look at me, they see a successful, 20-something-year-old woman who is giving of herself and her time. In the past, they would only see a bubbly, out-going, praying and saved young lady who is grounded in her faith. When outsiders look at me, they often see someone with two degrees from two of America’s most prestigious institutions, an entrepreneur who prides herself on inspiring others to live life on purpose, and simply lets her light shine despite all obstacles.
However, what so many do not know is that there was a time when I was dying on the inside. On a beautiful summer morning, at the tender age of 25, I suddenly felt sick. It was not the kind of sick where one is coughing with a fever and chills. I felt as if there were a ton of bricks on top of my body and I could not move my feet from the bed to the floor.
Then, there were times when I was unable to stop my mind from racing. I had a hard time concentrating on simple tasks and making decisions. My right leg would shake uncontrollably and I would get so overwhelmed by my mind.
It was in those moments when I inspired to begin researching depression and anxiety. I had the following thoughts as I read the symptoms: “This sounds like me. But, if I’m diagnosed with depression and anxiety, does this mean I am no longer grounded in my faith? Would I walk around claiming something that the Christians deemed as not being a “real” disease? Am I speaking this illness into existence?”
NAMI also describes anxiety as chronic and exaggerated worrying about everyday life. This can consume hours each day, making it hard to concentrate or finish routine daily tasks.
As the months passed, my symptoms became progressively worse and I became so numb to life. I slowly began to open up to my church family and some of the responses I received were so hurtful. I received a variety of suggestions on everything from speaking in tongues for 20 minutes to avoiding medication because it would make my condition worse.
As a result, I did not know what to do. I felt lost and alone, because a community that I turned to first in my time of trial and tribulation did not understand me. I was so deep in my depression that praying and reading my Bible was too difficult of a task to complete.
As time went on, I eventually went to the doctor and guess what? I was right. I went undiagnosed for over 10 years. Imagine the consequences if a person with cancer, AIDS/HIV or diabetes went undiagnosed.
The Breaking Point
I eventually found myself in the hospital after a friend called 911 to notify them of my suicide attempt. I was so removed from life that when the doctor asked me the day of the week and date, I could not tell him.
Honestly, I can tell you a number of reasons why I tried to commit suicide. Some of them were external factors, such as finances. Some of it was burn-out. Some of it was unresolved childhood issues and genetics.
However, after learning my family medical history, I discovered that several members of my family battled mental illness during their lifetime. Both of my parents battled mental illness, and my grandfather informed me about the time he tried to commit suicide at the age of 14. My uncle was admitted to the hospital due to schizophrenia.
A Bright Future
Over time, I’ve come to the conclusion that I have no reason to feel ashamed or embarrassed. God has placed amazing people in my life from family members, friends who are simply extended family, doctors, therapists, and medication.
While my goal is not to rely on medication for the rest of my life, I am grateful that I found something that works while I work through recovery. Looking back to where I was about two years ago, I would have never saw myself living life with depression and anxiety.
I believe in the power of prayer and God’s word. As the scripture states in James 2:17, “Faith by itself isn’t enough. Unless it produces good deeds, it is dead and useless.” This leads me to believe that no matter how difficult the situation is, I will have to work towards healing and recovery even though I have a strong foundation and faith.
Do you have words of encouragement for someone who is battling mental illness? Share your thoughts below.